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International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 641
VARIOUS PAMOR BLADE CREATIONS FROM SCRAP IRON AS AN
EFFORT TO DIVERSIFY AND INCREASE PRODUCT VALUE OF
BLACKSMITH IN POLANHARJO, KLATEN, CENTRAL JAVA
1DR. Karju, M.Pd; 2Aji Wiyoko, M.Sn.
1Basic knowledge: Linguistic
Working as art and craft lecture in Study Program Art Craft at Craft Department
Fine Art and Design Faculty, Indonesia Institute of Art Surakarta.
2Basic knowledge: Metal work art
Working as art and craft lecture in Study Program Keris and Traditional Weapon at Craft
Department Fine Art and Design Faculty, Indonesia Institute of Art Surakarta.
ABSTRACT
This article conveys efforts to diversify and increase the value of blacksmiths products in
Kranggan and Keprabon villages, Polanharjo sub-district, Klaten district, Central Java. The
blacksmiths center in Polanharjo sub-district has long been known as a producer of agricultural
equipment and household utensils. However, the product variants produced so far are still
traditional, as well as local, middle to lower market segments.
Research activities carried out apply the method of action research, with the intention that
researchers can really feel the real life of the blacksmiths, so that existing problems can be
analyzed and given the right solution. One form of diversification of blacksmiths products in
Polanharjo is the making of pamor knives with appropriate packaging.
Pamor knives along with the packaging produced are then exhibited and published to get a
response from the public. The result can be followed up as a superior product, besides not
leaving traditional products which until now the market segment is still running.
Keywords: diversification, pamor, market
A. INTRODUCTION
Blacksmiths in the villages of Keprabon, Kranggan, and Segaran in the Polanharjo sub-district,
Klaten, Central Java have the potential to develop their creativity in making new variants of
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 642
kitchen knife products. During this time, they only produced agricultural equipment as well as
various traditional sharp weapons, such as crescent, bendo, machete, sword, hoe, and various
types of knives. The forms of sharp weapon equipment produced are still very simple, as is the
shape of the handle of the weapon.
The activities of the blacksmiths in the Polanharjo sub-district almost never stopped producing.
Generally they move around from traditional markets to other traditional markets around their
homes, following market days. Every Pahing market day, has their activities on the Pengging
market, Boyolali. Every Pon and Legi, they are active in the Gawok market, Sukoharjo. In both
of these traditional markets, many blacksmiths receive turnover. Aside from those three market
days, they move around the villages around Polanharjo to serve farmers who want to repair their
farming equipment, and trading.
The blacksmith that has pioneered its business for a long time and has been tending to develop
its business by producing at home by involving family members and close neighbors.
Blacksmiths, who has been active for a long time, already has its own market segment, namely
collectors who market their products to the outside of Java. Thus the average turnover obtained
every month is quite stable. The iron pillar generally has a Trading Business License (SIUP)
issued by the Central Java Provincial Trade Office.
The simplicity of the activities of the blacksmiths in offering their services, proved to be able to
meet the needs of daily life. However, income from the blacksmithing profession has not been
able to guarantee the provision of life in old age, given that the activity requires good physical
strength. Blacksmith, who is elderly and is unable to move, is the responsibility of their children.
This is a thought to strive so that the blacksmith in productive age can increase their income.
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 643
Figure 1: Various products ironsmith from the Polanharjo, were
held at the Gawok market, Sukoharjo
The blacksmith product in the Polanharjo sub-district is fairly simple, thus the selling price is
relatively cheap. The market segment of ironsmithing products is generally in the lower middle
class. Thus, the quality of the product is adjusted only to fulfill its practical function, for
example: a kitchen knife limited to the need to slice vegetables, sickle to mow grass and harvest
rice, machetes to split bamboo, and the like. The materials used by the blacksmith are also
classified as simple materials, namely steel plates and used steel (car leaf springs, car drive axles,
etc.), and low-quality stainless steel plates. The side of sharpness and strength is quite fulfilling
the function, considering that after the process of forming sharp weapons a hardening process is
carried out. Thus, the outline of the marketing area of the Polanharjo iron products is the middle
to lower economic segment.
Based on the description above, it is necessary to increase the insight and skills of the
blacksmiths, especially the productive age to be able to develop creativity in order to increase the
selling value of iron smithing products in Polanharjo, so that they can compete in national and
international segments. Thus the problems can be formulated as follows:
1. How to design a knife product that can fulfill practical, but aesthetic aspects of function?
2. What materials can be used in knife innovation considering minimum production costs?
3. What things need to be prepared to support knife products towards a broader market
segment?
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 644
B. METHOD
This study applies the method of action research, which is an active role through the practice of
designing to create knife products, by working with the blacksmiths, so that the experience and
results can be concluded together. Action research has the opportunity to open up the hidden
potential of a society in order to get the attention of policy makers and attract the widest possible
range of stakeholders to jointly develop the potential of the intended community in order to
achieve mutual prosperity (Brown and Rajesh Tandon, 2008: 228).
A qualitative approach is related in understanding the real life of blacksmiths and formulating the
rules of practical function, ergonomics and aesthetics. Through a qualitative approach, the
subject (the blacksmiths) can convey information honestly and naturally without feeling that he
is being researched (Babbie, 2011: 318). Interviews with the blacksmiths and consumers were
carried out to obtain various data related to the extent to which knife products were able to meet
the needs of each party.
C. RESULTS AND DISCUSSION
One characteristic of best quality products is considering environmental aspects. In this case the
product is produced through a series of efficient processes. This research seeks to apply the
principle of minimal costs and environmental friendliness to produce high-value knife products.
The making of a damascene knife using scrap iron is an option to be realized as a prototype for
diversification of blacksmith products in Polanharjo. Damascene (known as “pamor” in
Indonesia) is strokes that appear on the weapon bar. Prestigious technology was originally born
in India with the term wootz steel (Pacey, 1991: 80). Scratch lines occur by the combination of
iron and carbon during the smelting process (Durand, 2004: 9). Pamor can also arise from the
effect of folding forging, which is the change in ferrite, pearlite and martensite iron structures
which have different levels of hardness.
The Encyclopaedia Keris mentions the term “pamor” can have two meanings, namely: pamor as
a pattern / motif strokes the results of folding forging techniques that fill the tosan aji bar, and
pamor refers to certain materials used to make damascene itself (eg prestige meteors because
they are made from meteors , the prestige of nickel because it is made of nickel (Harsrinuksmo,
2004: 333), while in Sanskrit, the meaning of the word pamor = authority (Purwadi and Eko
Priyo Purnomo, 2008: 103). Pamor is also interpreted as a spirit of metal, for example : gold, or
stones put in the blade of the keris, so that the keris becomes radiant and shining and increases its
strength (Winter, 1951: 33).
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 645
Pamor motifs have many varieties and can be formed through forging techniques. In terms of
forging techniques, pamor motifs can be categorized into “pamor tiban” (basic) and “pamor
rekan” (planned). Pamor rekan (planned): namely the technique of making pamor through
consideration of the design of motifs, applying techniques: gedigan (dripping), joints and patches
(Harsrinuksmo, 2004: 340).
This research applies the basic pamor: wos wutah and ngulit semangka, and the planned pamor:
udan mas on the blade of the knife. One knife made only contains one type of pamor. The
technique of making the prestige of the wos wutah, the ngulit semangka and the udan mas is
relatively the easiest among the other types of pamor.
The stages carried out in this study include:
1. Observation stage
Direct observation of various knife products in Polanharjo is carried out carefully. Observations
include the type of material used, equipment used, techniques and the process of forming knives,
to packaging. Based on observations at the location, the various forms of knife products
produced are traditional shapes since ancient times. There has almost never been an effort to
develop a knife to make it more varied. Making damascene knives from scraps has never been
done.
The making of damascene knives is a special attraction in order to cultivate creativity in
developing traditional knife shapes.
Figure 2: The researcher identified various shapes of knives produced, as well as conducted
interviews with the blacksmiths in Polanharjo.
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 646
2. Design stage
Knife products have the dominant practical function criteria. The sharper and stronger, the knife
is considered high quality. Then there is a challenge when faced with a practical problem rule
function plus aesthetic value, so that the product has added value.
The process of designing damascene knives continues to emphasize aspects of its practical
functions, as Victor Papanek presents in six parts the complex functions of the design:
Figure 3: Scheme 6 parts of complex design functions (Papanek, 1985: 7).
The design includes the shapes of blades, pamor, handle, packaging, and promotion.
Figure 4: Some knife drawing designs.
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 647
3. Making prototype
Making prototypes is used to see the results of the completion or execution of ideas, which are
presented for review by groups of users and stakeholders, before being presented to clients
(Ambrose and Paul Harris, 2010: 11). Prototypes are the initial example of a product that can
later be reproduced in bulk.
The making of a pamor blade prototype uses materials such as used motorcycle rims which still
contain a lot of nickel plated.
Figure 5: The raw material for the knife is used rims and used axles
Figure 6: The stage of cutting and flatening the used rims
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 648
Figure 7: Composition of pamor materials: by alternating iron
plates and flattened rim plates
Figure 8: The process of uniting pamor material by incandescent forging
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 649
Figure 9: The results of the forging process are going to be pamor knives
Figure 10: The process of shaping a knife uses electric machinal equipment
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 650
Figure 11: The process of coating arsenic acid to enhanced contrast color of pamor blade.
Figure 12: Making handle knives, varnished
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 651
Figure 13: The end result of the pamor knife is complete with
handle and decorative accessories.
4. The packaging stage
The important thing in supporting the appearance of a knife is that it is a safe and attractive box.
Safe in the sense of protecting the blades from the weather, and easy to carry. Attractive box
means that it is beautiful to be the attention of the people who see it, and is worthy of being used
as a memento product.
The materials used to make packaging boxes consist of: wooden boards, striped embos fabrics,
maroon imitation leather, black sponges, clear glass, plywood, nails, hinges, magnetic buttons,
buckles, aibon and alteco glue. The stages of making pamor knife box are as follows:
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 652
Figure 14: The wood cutting stage is in accordance with the design
Figure 15: Sticking and gluing imitation leather into wooden box
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 653
Figure 16: Hinges and buttons installation
Figure 17: Pamor knife products in a box.
5. Promotion stage
Artwork must be exhibited to the public to get a useful response to the next production effort. In
this case, the pamor knife prototype product has been exhibited at the National Technology
Awakening Day (RITECH Expo) in 2018 in Riau. The response of visitors is very fond of knife-
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 654
patterned products, many of which ask about how the manufacturing process and the selling
price.
In addition to being exhibited through the RITECH Expo, other promotional facilities include a
website: pisaupamor.com, and leaflets.
The important thing that needs to be considered by entrepreneurs is the understanding that
business must be seen as a process of satisfying customers, not just producing goods and then
selling them. In other words, selling benefits for the products produced, and products are
something that is exchanged with the value (money) sacrificed by consumers (Hendro, 2011:
408). Thus from the outset of the design as the scheme delivered by Papanek, it really needs to
be considered.
Figure 18: The atmosphere of the RITECH Expo 9-12 August 2018 in the
Riau Governor's Office House Complex.
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 655
D. THE RESULTS OF MAKING PAMOR KNIVES CAN BE PRESENTED AS
FOLLOWS:
Figure 19: Pamor knive ngulit semangka
Figure 20: Pamor knife wos wutah
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 656
Figure 21: Pamor knife udan mas
Figure 22: Pamor knife udan mas
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 657
Figure 23: Pamor knife wos wutah
E. CONCLUSION
Making pamor knives from scrap as an effort to diversify and increase the value of blacksmith
products in Polanharjo is a series of action research activities, so that researchers can feel the real
life of the blacksmiths.
The process of designing knife shapes and packaging by taking into account various aspects of
function requirements, user segments, materials, tools, techniques, promotion, publications, and
so on, is the key to the success of a high-value product. Tempered knives that are shaped and
packaged in such a way, not only fulfill practical aspects of the function, but are supported by
aesthetic aspects, apparently received a positive response from the community.
The process of making pamor knives from materials derived from scrap iron containing nickel,
as well as motorcycle rims and steel originating from used axles, can be realized properly.
Although there are few obstacles in the process of creation, this can be solved through the
maturation of the pamor material when it is incandescent.
This research is an effort to improve the insight of the quality of blacksmith products in
Polanharjo, so that it can be followed up to improve the welfare of the blacksmith, as well as to
increase competitiveness amid global market competition. Of course this cannot be separated
from the active role of the Government through the related agencies, especially in mentoring and
business partners.
International Journal of Arts and Humanities
ISSN: 2581-3102
Volume:02, Issue:12 "December 2018"
www.journal-ijah.org Copyright © IJAH 2018, All rights reserved Page 658
REFERENCES
Ambrose, Gavin & Paul Harris. Basic Design 08: Design Thinking. AVA Publishing
Switzerland, 2010.
Babbie, Earl. The Basics of Social Research, fifth edition. Canada: Wadsworth Cengage
Learning, 2011.
Bambang Harsrinuksmo. Ensiklopedi Keris. Jakarta: Gramedia, 2004.
Brown, L. David, and Rajesh Tandon. “Action Research, Partnerships and Social Impacts: The
Institutional Collaboration of PRIA and IDR”, dalam The SAGE Handbook of Action
Research, Participative Inquiry and Practice. Editor: Peter Reason dan Hilary Bradbury,
London: 2008.
Hendro. Dasar-Dasar Kewirausahaan. Jakarta: Erlangga, 2011.
Pacey, Arnold. Technology in World Civilization: A Thousand-Year History. MIT Press. 1991.
Papanek, Victor. Design for the Real World. London: Thames & Hudson, 1985.
Purwadi dan Eko Priyo Purnomo. Kamus Sansekerta Indonesia. Yogyakarta: budayajawa.com,
2008.
Winter, F.L. Kitab Hal Keris, diterjemahkan oleh Soedjonoredjo, Kediri: Boekhandel Tan
Khoen Swie, 1951.
Contributors and interviewees:
1. Suyono: knife maker, reside in Surakarta
2. Slamet Widodo: traditional blacksmith, reside in Kranggan, Polanharjo
3. Bekti (Slamet Widodo’s wife): traditional blacksmith, reside in Kranggan, Polanharjo
4. Mardi: traditional knife maker, reside in Keprabon, Polanharjo
5. Agus: traditional stainless steel knife maker, reside in Keprabon, Polanharjo
6. Wikan: U.D. Sarma owner, traditional knife home industry in Kranggan, Polanharjo